MotetUp to 1250-(75) Tenors were taken primarily from chant. Late in 13th cent. French secular tenors are seen with similar R in all voices.
DorPhryg Lyd Mix
“On C” 6<8 3<5
Breves3rs and 6th stepwise to PC Less P4 PC on strong beats between upper voices and Tenor UV's may be dissonant Meter: 6/8 9/8 6/4 9/4 3/4 Sharps: F# -Bb
2 voicesDuplum Tenor
13th b
Adam de La Halle????
Semi BrevesC#s coming in Breaking away from rhythmic modes
3 voicesTriplum Duplum Tenor
Franco de Cologne?????
Upper voices differ rhythmicalyR-modes rarely repeat R-Modes shared in voices
Petruce de Cruce1270-1300
R more distinct and stratifiedR 4-7 semibreves per breve
English
Rondellus motets and rota
14th French
Philppe de Vitry 1291-13-61 Machaut 1300-1377
Ars Novo (Ars Antiga see 13th century) Iso-Rhythmic Motet Hocket Treble-dominated style French-Polyphonic Chanson and Monophonic Chanson Form Fixes: Virelai, Rondeau, Ballade Late 14th Century Ars Subtilior
-DLT on D G and C-Phryg -Lyd -Mix -Landini down2nd up 3rd -Cadences are also transposed to F. -Interior Cadences contain no 3rds. -Cadences top voice may be 5 or 8.
6<8 should be M6<8
3<5 should be M3<5
-Contra tenor can substitute tenor voice -Duple Rhythm -Meter: 2/4 2/2/ ¾ -Rhythm: mim (eighth notes) -Syncopation -Sharps: F# - C# - G# -Bb -Complete 53 and 63 triads -Phrases Begin and End on 58 (no P4) -Some Parallel 5 and 8 -Parallel 63 (Fauxbordon) -Interior Cadences 58 (no3)
4 voicesTriplum Moteus Contra -Tenor Tenor T or CT may be on bottom
Cantus Treble Tenor Contra Tenor
S France N Italy
Ars SubtiliorPhilluppus de Caserta
???? Baude Cordier???? Johnnes Cicona1370-1412
1 generation very complex rhythmically.
Clear Cadences
-Partial Key sig common -Parallel 63 sonorities -5<6 in upper voice to 53 sonorities -Few parallel 1, 5 or 8.
-Few dissonances
Italy
Trecento musicLandini 1325-1397
Ballata, Caccia Madrigal
15th Burgundy
Guillaume Du Fay1397-1474 Binchois ???? 1st Generation
Syncopation and hemiolaImitative Counterpoint 3rds final cadence 40%
Henricus Issac1450-1517Jacob Obrecht1457-1505Josquin Des Prez1450-15213rd Generation
-Interchange between Franco Flemish and Italian Influences.-Harmonic Bass replaces Tenor. -Composed all parts phrase by phrase. -Instrumental works more common. -New Chanson forms. (no form fixed) Imitative and Homophonic texture.-Direct text setting-Motet -Text Depiction (images through music) -Text Expression (emotion through music)
2voice 6 < 8 – 3 > 1 Suspensions 7-6 2-3 4-3 9-8 Suspensions 3 voice 7-6 2-3 4-3 9-8 1) V-I with 4-3 sus 2) Leading Tone VII06-I (B dim - C) 3) Plagal IV-I 4) Phrygian VII6-I (D min -C) 5) Deceptive V – X
General rules of counterpointModes Dorian, Phrygian,Lydian, Mixolydian, Aeolian, Ionian Common options to Express beginning or Final note in lowest voice Common Interior Cadences Dorian, D A F Phrygian, E A G Lydian, F C A Mixolydian, G D C Aeolian, A D C Ionian C G A Accidentals F# C# G# Bb Transposed Key Eb Sharps usually at cadences Bs to avoid tritone and picardy 3rd (Maj3) in final sonority. Not for chromatic motion Harmony PC 1, 5, 8, 3rs, 6ths (no P4) IPC 3rds and 6ths free PC 1 and 8 by contrary or oblique motion. PC 5 and 8 freely but no parallel 5ths PC 5 8 by similar motion by outer voices one by step one by leap. Phrases commonly begin on 58 sonorities but most vertical sonorities are triads. Final cadences can be either 58 or triad. Interior cadences usually triads. Crossing voices is ok. Any doubling may occur.
Willaert
1490-1562
Combert
1495-1560
4th Generation
Overview for Midterm 11th Century-15th Century
Tenor
3-4v
Cantus Firmus
Discant/Organum/Chant
Parallel– 5, 1,8,
Rhythmic Modes
Bb
Triplum
Duplum
Tenor
Tenors were taken primarily from chant.
Late in 13th cent. French secular tenors are seen with similar R in all voices.
Lyd
Mix
“On C”
6<8
3<5
Less P4
PC on strong beats between upper voices and Tenor
UV's may be dissonant
Meter: 6/8 9/8 6/4 9/4 3/4
Sharps: F# -Bb
Tenor
Breaking away from rhythmic modes
Duplum
Tenor
R-Modes shared in voices
French
1291-13-61
Machaut
1300-1377
Iso-Rhythmic Motet Hocket Treble-dominated style French-Polyphonic Chanson and Monophonic Chanson
Form Fixes: Virelai, Rondeau, Ballade
Late 14th Century Ars Subtilior
-Lyd
-Mix
-Landini down2nd up 3rd
-Cadences are also transposed to F.
-Interior Cadences contain no 3rds.
-Cadences top voice may be 5 or 8.
3<5 should be M3<5
-Contra tenor can substitute tenor voice
-Duple Rhythm
-Meter: 2/4 2/2/ ¾
-Rhythm: mim (eighth notes)
-Syncopation
-Sharps: F# - C# - G# -Bb
-Complete 53 and 63 triads
-Phrases Begin and End on 58
(no P4)
-Some Parallel 5 and 8
-Parallel 63 (Fauxbordon)
-Interior Cadences 58 (no3)
Moteus
Contra -Tenor
Tenor
T or CT may be on bottom
Cantus
Treble
Tenor
Contra Tenor
????
Baude Cordier????
Johnnes Cicona1370-1412
-Parallel 63 sonorities
-5<6 in upper voice to 53 sonorities
-Few parallel 1, 5 or 8.
-Few dissonances
1325-1397
Burgundy
Binchois
????
1st Generation
-Pervasice consonance careful treatment of dissonance
MotetsMagnificatsSettings of Mass OrdinaryRitornello??Iso-Rhythmic MotetBurgundian Chanson
Tech -Landini EmbelishmentFauxbourbon (from English)
-V-1 17%
-DLT 15%
-Phrygian 4%-Plagal 1ish%-Other 11%
-Landini embellishment 33%
Tenor
Tenor
Bassus
1st Generation
Ren
More homophonic texture
More equal treatment of voices.
Franco Flemish
-Longer phrases.-Increased imitation.
-More equal treatment of voices.
-Eliding Cadences
-Florid melodic phrases
-Cannon
-Inversion and
-Retrograde inversion
-Phrases (p197)
-Mensuration Cannon
-Double Cannon
Plagal 14%
V-I (Pre-har) 8%
Phrygian 6%
Vii06-1 5%
Other 2 %
DLT 0 %
Landini embellishment 2%
3rds final cadence 40%
-Composed all parts phrase by phrase.
-Instrumental works more common.
-New Chanson forms.
(no form fixed)
Imitative and Homophonic texture.-Direct text setting-Motet
-Text Depiction
(images through music)
-Text Expression
(emotion through music)
Willaert
1490-1562
Combert
1495-1560
4th Generation
Palestrina
6 < 8 – 3 > 1
Suspensions
7-6 2-3
4-3 9-8
Suspensions 3 voice
7-6
2-3
4-3
9-8
1) V-I with 4-3 sus
2) Leading Tone
VII06-I
(B dim - C)
3) Plagal
IV-I
4) Phrygian
VII6-I
(D min -C)
5) Deceptive
V – X
Dorian, Phrygian,Lydian, Mixolydian, Aeolian, Ionian
Common options to Express
beginning or Final note in lowest voice
Common Interior Cadences
Dorian, D A F
Phrygian, E A G
Lydian, F C A
Mixolydian, G D C
Aeolian, A D C
Ionian C G A
Accidentals
F# C# G# Bb
Transposed Key
Eb
Sharps usually at cadences
Bs to avoid tritone
and picardy 3rd (Maj3) in final sonority.
Not for chromatic motion
Harmony
PC 1, 5, 8, 3rs, 6ths (no P4)
IPC 3rds and 6ths free
PC 1 and 8 by contrary or oblique motion.
PC 5 and 8 freely but no parallel 5ths
PC 5 8 by similar motion
by outer voices one by step one by leap.
Phrases commonly begin on 58 sonorities but most vertical sonorities are triads.
Final cadences can be either 58 or triad. Interior cadences usually triads.
Crossing voices is ok.
Any doubling may occur.